TUM SAATH HO....

 रहो में मुश्किलें तो, बहुत आई 

पर उम्मीद थी की तुम साथ हो,

मंज़िल बहुत दूर थी ,मगर 

विश्वास था, की तुम पास हो,

कई जंग में फतह पाई 

मंज़िल के और पास आई

था एक एहसास की तुम पास हो,

राह में ठोकर खाई 

थोड़ा मैं लड़खड़ाई

ज़माने ने तंज कसे

पर मैं न घबराई 

संभालने के लिए तुम साथ हो।

उम्मीदों पे दुनिया कायम है ,

उम्मीदों की उम्मीद तुम हो

जीवन के अँधेरे में रौशनी की किरण  आई 

है एक उम्मीद की तुम साथ हो।

-DIKSHITA PRIYADARSHINI 

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SARHADO KI DEEWAR

 जब न थी सरहदे, न थी दूरियाँ,

तब की  कहानी सुनाऊँ मै सबको,

न हीर- राँझा , न लैला- मजनू 

दो दिलो की  दास्तान सुनाऊँ मैं सबको, 

न धर्म की दीवार थी,न थी कोई बन्दिशें,

दो वतन ने दूर किए दिलो की ख्वाहिशे।

अफसाना था नाम उसका 

थी बिल्कुल बेपरवाह 

इरफ़ान की मोहब्बत में,

थी बेरुख सी हवा ।

इस बेरुख सी हवा के साथ 

तूफ़ान का मंज़र आया,

अफसाना-इरफ़ान के बीच 

सरहदे आ गई,

मोहब्बत का गुलाब न खिला 

नफरत की कांटे बिछ गई ।

दोनों परिवारों में आई दूरियाँ 

हिंदुस्तान - पकिस्तान में बट गई

दोनों दिलो की नज़दीकियां ।

अब चाकू और तलवारो ने 

बंदूकों की आवाज़ों ने 

उन खून की लेहरो में 

इश्क़ के जज़्बातों को बहा दिया ।

एक इस ओर गया 

एक उस ओर गई 

दोनों ने साथ छोड़ दिया।

ज़माने से हारी थी ये  मोहब्बत,

एक अधूरी दास्तान बताऊ मैं सबको।

-DIKSHITA PRIYADARSHINI

 When there were no boundaries, no distances,

Let me tell the story of that age,

Neither Heer-Ranjha nor Laila-Majanu 

Let me tell you the story of two hearts,

 

There were no walls of religion nor any boundaries,

The two homelands separated two hearts in love.

Asana was her name 

She was absolutely carefree

In The Love of Irrfan,

There was a soothing wind.

With this apathy air 

The storm came,

Between Afsana-Irrfan 

The boundaries came,

Roses of love did not bloom,

Thorns of hatred were spread everywhere.

Distances in both families came,

Hindustan - Pakistan got divided,

The closeness of both hearts was now distanced.

Now the knives and the swords,

The sounds of guns,

Swept away the emotions of love

in the waves of blood.

One went to this side 

One went to that side 

Both of them left.

This love lost itself in those days,

I tell you an incomplete story of that age,

-DIKSHITA PRIYADARSHINI

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MAI KISAN HOO....

मैं हल चलाता  हूँ, फसल उगाता  हूँ 

मैं किसान हूँ, यह देश चलाता  हूँ।

   

रोज़ की रोटी, दाल और भात,

देता हूँ सबको जीवन निर्वाह,

तो,क्या अधिकार मांगना है गलत ?

अपना हक़ माँगना है गलत?

अब चुप्पी को तोडना है 

हवाओ की रुख को मोड़ना है 

मैं खेती बाड़ी से दुनिया को पोषित करता हूँ 

मैं किसान हूँ ,इस देश को चलाता हूँ।

जय जवान जय किसान का 

नारा तो लगवा दिया 

वोट के लिए लोगो को मूर्ख भी बना दिया 

अब हक़ दो हमें, अधिकार दो हमें,

प्रकृति की गोद में बीज  मैं बोता हूँ,

मैं किसान हूँ, यह देश चलाता  हूँ....

Translation

I plough thw fields, I grow the crops 

I am a farmer, I run this country.

   

Daily roti, dal and bhath,

Give everyone a subsistence,

So, is it wrong to fight for our own rights?

Is it wrong to ask for what you deserve?

Now the silence has to be broken. 

To bend the stance of the winds and bring a change.

I nurture the world with farming 

I am a farmer, I run this country.

Jai Jawan Jai Kisan has been well taught

but only as a slogan,

Made us fool to gain your votes, 

Now give us the right, give our rightly deserved price,

I sow seeds in the lap of nature,

I am a farmer, I run this country....

- Dikshita Priyadarshini 

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Murli Manohar

मुरली मनोहर ,हे बंसीधर ,

सुन लो विनती नाथ हमारी,

 

द्वार खड़े दोनों कर जोड़े,

कर दो कृपा तुम हे गिरधारी,

 

श्याम मुकुंदा, राधा रमणा

मोर मुकुट पीताम्बर धारी

 

मुरली मनोहर, हे मनमोहन

सुन लो विनती नाथ हमारी।

 

राह ताकू तेरी पंथ निहारू

राह दिखा दो हे त्रिपुरारी ,

 

यशोदा नंदन, हे ब्रजनंदन

माखन चुराए श्री बनवारी,

 

मुरली मनोहर, हे बंसीधर

सुन लो विनती नाथ नाथ हमारी

 

हृदय में राधे अधरों पे राधे

रास रचे राधेकृष्ण मुरारी।

 

मुरली मनोहर हे बंसीधर

सुन लो विनती नाथ हमारी।

- Dikshita Priyadarshini

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Indian Aesthetics

  

 Indian aesthetics is a unique philosophical and spiritual point of view on art, architecture and also literature. It can be divided into three:

• Rasa

• Vyanjana

• Alankara

Theory of Rasa

     Rasa is an emotion excited by artistic situations. It is the aesthetic emotion which can be regarded as the very corner stone or in fact the 'nucleus' of Indian Aesthetics. It is widely recognised in both poetry and drama.
    

Bharata is the mythical author of Natyasastra who recognised the supreme position of Rasa in aesthetic for the first time. Natyasastra is an encyclopaedic work covering all aspects of theatre. Bharata also deals with the process of genesis of Rasa through his famous Rasasutra. Genesis of Rasa occurs out of comination of Vibhavas, Anubhavas and Vyabhicharibhavas.

1. VIBHAVAS

    It stands for all the cases direct and indirect which are responsible for the arousal of an emotion. It has two aspects:

• Alambana

Person or persons with reference to whom an emotion is aroused or manifested.

• Udippana

The background features which enhance the emotion.

   

    2. ANUBHAVAS

    

    That which causes the experience. It means bodily expressions by which the emotion is expressed.
 

  

    3. VYABHICHARIBHAVAS
    

    It refers to a series of drives of diverse emotions that feed the dominant emotion. It is to be understood as a transitory emotion which is directed towards the base main emotion which is one amongst the Nava Rasas.

The Nava Rasa:

• Rati (love)

• Hasa (comic)

• Soka (pathos)

• Utsaha (heroic)

• Krodha (fury)

• Bhaya (fear)

• Juguptsa (disgust)

• Vismaya (wonder)

• Sama (calm)

 

    The above mentioned nine emotions are permanently in human nature. No emotion is however called Rasa unless it is aesthetically excited.  

Vyanjana

    Vyanjana or Sahrdaya is a suggestion in poetry. It is the soul of poetic charm found in all artistic works. Jesperson describes three distinct elements present in all speech:

• Expression

• Suppression

• Impression

    Ability of  a writer lies in his ability to impress by suppression. This suppressed element is the essence of speech, and the greater the art, greater is the suppressed element. What is suppressed arouses the curiosity of the reader to conduct a sort of intellectual quest into it and comes out triumphant with an intellectual conquest.

Alankara

    Abhinavagupta is held in high esteem among the interpreters by poets. He recognised the basic affinity of the aesthetic experience with spiritual experience. He clearly showed how the poetic language triggers off the aesthetic process through its  suggestive process. In a truly poetic composition, the writer first of all grasps the full significance of the word and its possible meanings. The poetic language has its own magical properties because it is endowed with various flourishes of expressions (alankara).

 

   Abhinavagupta points out that every individual is blessed with some dominant emotive instincts at his very birth. When purely individualised emotion becomes an object of cognition, it is invariably related to these deep subconscious strata of the human psyche and this aesthetic experience penetrates into the deepest realm of one's personality.

   Use and Abuse of Alankara

 It is believed that in poetry, feelings and imaginations are necessary to the perception and even presentation of matters of the fact. Natural description is called Swabhavokthi which is a plain statement. A figure of speech is a deviation from the plain and ordinary. All poetic expressions involve a kind of deviation of beauty called Alankara. We can hardly convey poetry without this beautiful form.

    Alankara is defined as the inevitable incarnation in which an idea embodies itself. According to Anandavardhana alankara is not the sarira (outer body) but sariri (the soul).
Bhoja classifies alankara into three groups:

• Those of Sabda (word): Bahya (external)

• Those of Artha (meaning): Abhyarthana (internal)

• Those of both Sabda and Artha: Bahyabhyarthana (external-internal)

AUCITYA
    The ultimate beauty of poetry lies in the aucitya or appropriateness or harmony and proportion. Like the ornaments are of no use on a carcass, alankara tend to be futile without the magical element aucitya. It determines the proper place and function of alankaras. 

    Alankara can be a beautifying factor only when it is appropriate to artha and through it to Rasa.

    Anandavardhana calls to the judicious use of alankaras. They must be auxiliary and must never become of prime importance. The poet must never lose sight of the central theme and the figures must be employed only in accordance with the main idea. The figures must never be overworked and must be assigned a secondary position. 

-Ayesha Sana PNP

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Wo Din Bhi Kya The......

 

ना जाने कितने दिनों बाद हँसी हूँ मैं,

अधरों की मुस्कान जाने कहाँ रूठ के बैठी थी,

 

संभाले ना संभाल पायी मई खुद को

जब वो तस्वीर मेरे सामने गिरी।

 

याद आए वो दिन, वो बचपन, वो खेल,

जब होते संग चलती मस्तियों की रेल,

 

वो रूठना मानना , वो माँ की डाँट खाना

याद आया फिरसे  वो बीता  अफसाना ,

 

वो गर्मी की छुट्टी में नानी घर जाना

रोज़-रोज़ लड़ना और माँ को सतना,

 

अब उम्र तो बढ़ी और दूरियां भी

सांस लेना भी मुश्किल ,सबकी मजबूरियाँ थी,

 

एक मुकाम पे पहुंच गए , सब पीछे छूट गया ,

वो दोस्ती ,वो प्यार जाने कहाँ रूठ गया।

- Dikshita Priyadarshini  

TRANSLATION

It seems like I'm smiling after ages now,

Where was this smile lost till now?

I was not able to handle myself,

But when those pictures fell before me.

I remembered those days, that childhood, those games,

When the rails of happiness moved along,

Those cute little arguments, those cute scolding from mother,

I remembered those good old days,

Where we went to granny’s home in summer vacations,

Fighting daily and irritating mother,

Now both age and distance are growing,

Even breathing freely is difficult, everyone is helpless,

We have all reached near to our goals, but everything good is left behind,

That friendship, that love- all is lost!

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Zindagi

हर सिक्के के दो पहलू होते हैं, 

ज़िन्दगी है जनाब हार और जीत दोनों होते हैं, 

कभी यहाँ तो कभी वहां लहराती हवाओं सी, 

कभी गगन में गरजते काले घटाओं सी, 

सफलता असफलता से डरना नहीं, 

जैसे मिलती हैं नदियाँ सागर से, 

वैसे मिल जाओगे तुम भी अपनी मंज़िल से, 

 राह में कांटे ज़रूर होंगे, 

पर भूलना मत वो महकते गुलाब भी तुम्हारे होंगे, 

 कश्ती जब चलती है सागर में, 

जानती नहीं मंज़िल कहाँ होगी, 

निडरता, निर्भयता और विश्वास से, जानती है जीत उसी की होगी, 

 हर सिक्के के दो पहलू होते हैं, 

 ज़िन्दगी है जनाब हार और जीत दोनों होते हैं! 

- Dr. Dikshita Priyadarshini

Translation

Each coin has two sides, 

Similarly, life has two sides of both defeat and victory, 

 Here and there it wanders like wavy winds, 

And sometimes roars back as thunder, 

Don't be afraid of success or failure, 

Just like the rivers reach the sea, 

You too shall reach your destination, 

There will be thorns in the way, 

But don't forget that roses will also be yours, 

Boat when moving in the ocean, 

Doesn't know where it’s destination will be, 

Yet fearlessly and confidently it flows, Knowing that it will one day succeed, 

Each coin has two sides, 

 Similarly, life has two sides of both defeat and victory!

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